Jana Machatova
Jeweller
Published: 29.09.2020
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machmach.sk
Brooch: Hodrusbánya, 2020
Silver, paper, resin, pearls.
Photo by: Peter Ancic
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Brooch: Crucified, 2020
Silver, paper, resin.
Photo by: Peter Ancic
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Brooch: She and He, 2020
Silver, paper, silver foil, resin, agate.
Photo by: Peter Ancic
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Brooch: Black Rain, 2020
Silver, paper, silver foil, resin, zircons.
Photo by: Peter Ancic
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Brooch: Peacock Tail, 2019
Silver, paper, silver foil, resin, zircons.
Photo by: Peter Ancic
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Brooch: Headless, 2020
Silver, paper, resin, zircons.
Photo by: Peter Ancic
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Brooch: Irons, 2019
Silver, paper, gold foil, resin, zircons.
Photo by: Peter Ancic
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Jana MachatovaBrooch: Portrait of Lady, 2020
Paper, resin, silver foil, silver.
Photo by: Peter Ancic
From series: Frauen-Fleiss
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Brooch: Untitled, 2019
Silver, resin, silver foil.
Photo by: Peter Ančic
From series: Frauen-Fleiss
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Brooch: Untitled, 2019
Silver, resin.
Photo by: Peter Ančic
From series: Frauen-Fleiss
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Brooch: Glove, 2018
Silver, resin, gold foil.
Photo by: Peter Ančic
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Jana MachatovaBrooch: No. 1, 2018
Silver, resin, silver foil.
Photo by: Peter Ančic
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Brooch: Peacock, 2019
Silver, resin, paper.
Photo by: Peter Ančic
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Brooch: The Secret of a Lady´s Handbag, 2018
Silver, paper, resin.
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Brooch: Untitled, 2018
Silver,paper,silver foil, resin, olivins.
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Brooch: KörperhaltungNr. 1, 2018
Silver, paper, silver foil, resin.
From series: Frauen-Fleiss
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Brooch: Desire, 2018
Silver, paper, silverfoil, resin, zircons.
9 x 8 x 2 cm
Photo by: Peter Ančic
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Brooch: Couple, 2018
Silver, paper, silver foil, resin.
6 x 9 x 2 cm
Photo by: Peter Ančic
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Brooch: Leonid Iljitsch+Gustav, 2014
Plexiglass, silver.
7 x 10 x 1.7 cm
Photo by: Peter Ancic
From series: Where are you from?
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Pendant: Leonid Iljitsch+Erich, 2014
Silver, gold foil, plexiglass, paper in laminated plastic.
10 x 10 x 1 cm
Photo by: Peter Ančic
From series: Where are you from?
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Pendant: Vladimir Vladimirovitsch, 2014
Plexiglass, silver, paper in laminated plastic, gold foil, fibre, pearls
11 x 12 x 1 cm
Photo by: Peter Ancic
From series: Where are you from?
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Jana MachatovaBrooch: Pioneers, 2014
Plexiglass, silver, gold foil.
6.5 x 10 x 1 cm
Photo by: Peter Ančic
From series: Where are you from?
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Jana MachatovaBrooch: Where are you from?, 2014
Plexiglass, silver, paper in laminated plastic, gold foil
11 x 10 x 1.5 cm
From collection - 'Where are you from?'
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Brooch: Honour and Praise..., 2014
Plexiglass, silver, paper in laminated plastic, gold foil.
Photo by: Peter Ancic
From series: Where are you from?
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Brooch: Alice in Wonderland, 2012
Silver,paper in lamineted plastic,gold foil,pearl
6.5 x 6 x 1.5 cm
From collection - 'Love is love'
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Jana MachatovaBrooch: She and He, 2011
Silver,paper in lamineted plastic,silver foil
13 x 5 x 1.5 cm
From collection - 'Love is love'
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Brooch: Kiss the Frog, 2012
Silver,paper in lamineted plastic,gold foil
10 x 9 x 1.5 cm
From series: Love is love
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Brooch: Eine Unaufmersame Schulerin, 2012
Silver,paper in lamineted plastic,gold foil,pearls
8 x 7.5 x 1.5 cm
From collection - 'Love is love'
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Jana MachatovaBrooch: Titanic, 2013
Silver,paper in lamineted plastic,gold foil,pearls
5 x 11 x 1.5 cm
From collection - 'Love is love'
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Jana MachatovaBrooch: Black Horses, 2011
Silver,paper in lamineted plastic, pearls
5 x 9.5 x 1.5 cm
From collection - 'Love is love'
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Jana MachatovaBrooch: ...he is beeing carred..., 2012
Silver, paper in lamineted plastic, gold foil, pearls
8 x 7.5 x 1.5 cm
From collection - 'Love is love'
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Brooch: Forgotten World, 2011
Silver,paper in lamineted plastic, silver foil, pearls
5.5 x 6.5 x 1.5 cm
From collection - 'Love is love'
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Jana MachatovaBrooch: Love is Love, 2011
Silver, paper in lamineted plastic
From collection - 'Love is love'
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Brooch: Love is Love III, 2011
Silver,paper in lamineted plastic
From collection - 'Love is love'
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Jana MachatovaBrooch: Turists and Scheep, 2009
Silver
6 x 5 x 1 cm
From Sentimental Value series
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Brooch: Hali at the Water, 2009
Silver
6 x 5 x 1 cm
From Sentimental Value series
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Statement
Jana Machatova is one of the first Slovak fine artists who completed the study of jewelry at the Academy of Fine Arts and Design in Bratislava (under Cepka and Weisslechner). During her time there, she underwent a geometrizing and kinetic episode under Cepka’s influence; however, she soon shifted her attention to the theme of memory. She works on this theme in mutually interconnected layers – through her own story, touched up by retrospective optimism and through commentaries, which provide a bitter (or) realistic crown on sweet childhood times. Thus, the accent on personal, family or fantasy memory traces developed in the form of medallions in laminated photography or in carved silver sheets alternates by tuning in to a wider context. In her jewelry, Socialist Czechoslovakia marches with various attributes – badges of children’s pioneer organizations, prefabricated housing developments, barbed wire. Party leaders kissing, Spartakiad games, happy workers and merry children are a more telling description of the socialist era – in the sense of the artist’s sentimental-ironic poetics, they are frequently accompanied by a luxurious golden background and bucolic blueprint motifs. Another layer, to which she revisits with intermissions, is connected to the narrative provided by old postcards and newspapers, in her latest series focusing on, but not exclusively, the history of women’s crafts./ Viera Kleinova, 2019
About series Frauen-Fleiss
I am flicking through a tattered newspaper from 1909 and thinking of the woman who kept the supplement with instructions for needlework in a black folder in an old cabinet in the attic. She redrew the monogram designs and embroidery patterns in ink on translucent paper and included them in the scrapbook collection. I can imagine her sitting by the window, by our small window, embroidering her daughter’s trousseau or knitting baby slippers. I am thinking of the unknown woman who embroidered beautiful pictures, and yet she had no idea what horrors of the twentieth century awaited her. I am thinking of her and wishing her that the moment of peace and concentrated work on something nice would last as long as possible. At the same time, I feel an unusual affinity with her. I pour epoxy resin on the newspaper, trying to preserve the memory. It becomes translucent, but the contours remain, and the patterns overlap...
We are vulnerable and our lives are never completely in our hands. There are often some resolutions about us that have been made by other people. And then we feel as if we were naked. Nobody can hear us shouting, our words. Our faces are invisible, our eyes are only voiceless screams….
/ Jana Machatova
CV 
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